In fact, the first time we see Gehry at work in his studio, he and an associate are cutting out odd-shaped pieces of paper with scissors and bending them into different shapes, much as children might do in a kindergarten art class. Thus disarmed into accepting Gehry as a plain-spoken regular guy, the viewer is taken on a rich tour of his artistic world and the journey that brought him to where he is today.
Filmmaker Sydney Pollack and architect Frank Gehry are friends, good friends. Gehry deliberately chose his buddy to direct a documentary about his illustrious career. Unlike a traditional documentary, Pollack does not remain hidden behind the camera; instead he is a participant in numerous conversations with Gehry, interjecting his own thoughts about creating art to elicit a response from his subject. Their easy camaraderie sets a light, comfortable tone. The men have plenty in common: two successful Jewish guys in the arts, both in the twilight of their careers, but clearly still at the top of their game.
Sketches of Frank Gehry is much like the conversations between Gehry and Pollack: earnest, on subject, but also relaxed and easygoing. Pollock's intentions as a filmmaker are always clear: he questions Gehry about his childhood, Gehry's not entirely straight path to architecture, and his general philosophy about work. Pollack also interviews admirers--artist Julian Schnabel in his bathrobe, actor Dennis Hopper (conspicuously not in the home Gehry designed for him), satisfied CEO Michael Eisner--and the occasional unimpressed critic who provides a contrarian view of the impact of Gehry's artistry.
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